#markgottliebagent

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Journalist, Editor & Author of Historical Fiction James Wade

James Wade is a seasoned journalist, editor and the author of the novel All Things Left Wild. Set during the turn of the 20th century, when a botched robbery leaves a young boy dead and sets two men on conflicting journeys across untamed landscape—All Things Left Wide is a coming of age for one, a mid-life odyssey for the other, and an illustration of the violence and corruption prevalent in our fast-expanding country. All Things Left Wild is forthcoming from Blackstone Publishing.

Your novel, All Things Left Wild, is set during the turn of the 20th century in the American southwest. What is it about that particular time period and place that fascinates you?

Folks tend to consider America as settled and civilized by that time, but much of the Southwest was still divided into territories rather than states, and the lack of transportation infrastructure coupled with the rugged landscape served to essentially cut these people off from the rest of the country. Small-time criminals found it easier to thrive, while many a shady “businessman” found fortune in these areas by simply bullying their competition into submission. 

The country was only one generation removed from the Civil War, and yet it was also at the beginning of what would be the most remarkable century of progress in human history. We were essentially trying to find our footing as a nation, while also seeing the world around us modernize at an unprecedented pace. That’s something we’ve dealt with ever since, and are still dealing with today.

I’m also drawn to the Southwest, no matter the time period, because of its remarkably diverse landscape and population. The blending of cultures has created such unique traditions, food, music, and literature. 

Do you feel that the type of violence and corruption that was prevalent in our fast-expanding country of that day and age is somewhat present today but in other forms?

Absolutely. Any time there is expansion, something growing more quickly than the regulations surrounding it, then it becomes an attractive breeding ground for greed and corruption. Any new industry gaining momentum, or disruptive technology we see come to market, creates uncertainty. The corrupt thrive on that uncertainty, using it to their advantage however they can. In 1910 it was swindling settlers out of land rights or mineral claims. Today it’s fraudulent investing or predatory lending or even the spread of misinformation on social media. There’s always someone willing to excuse morals in favor of money or power.

Also, the disconnect between rich and poor was growing rapidly during this time, much like it has in recent years. From the post-Civil War 1870s through the Great Depression, the country saw a massive income inequality, and you began to have similar economic anxieties to what we’re seeing now. 

“...at some point you just have to pull yourself back from that fascination or you risk losing the pace of the story.”

What is the research process like for you when constructing the backdrop for a historical novel? Did you uncover any hidden gems along the way?

The fun part is getting to read about history, watch Ken Burns documentaries, and travel to these awe-inspiring landscapes, all while calling it "work." My wife and spent more than a year traveling the country in a small trailer, and it was seeing these places in person that really helped me understand the history.

The process could also be frustrating, primarily because you uncover so many hidden gems and you want to work them all into the novel, which is usually impossible. For example, there’s a small town called Mesilla near Las Cruces, New Mexico. It’s only a few blocks, mainly geared toward tourists, but it’s so rich in history. In the early 1900s it was the hub for stagecoaches, travelers, vendors, merchants, parties, you name it. It played such a central role in shaping that part of the world. After we visited the area, I knew I needed to include this town in the novel; but the more I read about it, and talked to the locals who’d been there for generations, the more space I wanted to give to Mesilla. But that wasn’t really conducive to the narrative, so at some point you just have to pull yourself back from that fascination or you risk losing the pace of the story.

“In drawing that human connection to the past, it brings historical events to life.”

Does writing historical fiction present its own set of challenges and limitations, or do you find writing historical fiction to be liberating?

There are certainly challenges, like wanting to do justice to the people and places of the time. But even though All Things Left Wild has historical elements, it’s a work of fiction first and foremost. I wouldn’t want anyone reading this as a history lesson, so I tried not to put any limitations on where the story might go. There are real names and events which are mentioned, but all of the characters and situations are entirely created. 

There is a certain liberation in writing a character who is from our past, yet has the same motivations, same internal struggles, etc. as we deal with today. In the novel, we see characters who are conflicted about their family, their faith, their own measure of “goodness.” Those are things a lot of us have questioned in our own lives. In drawing that human connection to the past, you can help bring it to life. 

Are there any authors or books that were of influence to your writing, or those you might enjoy reading for pleasure? For instance, Cormac McCarthy seems to come to mind...

Yes, I am a Cormac McCarthy fanatic. I consider his Border Trilogy the finest collection of prose I’ve ever read. I would hope just by having read books that well-written I could somehow draw inspiration. McCarthy was a close study of Faulkner and I think it shows immensely in his writing.

Yes, certainly McCarthy is a huge influence. In my humble opinion he is the best living writer in the world, and his prose is both inspiring and motivating. 

Flannery O’Connor is another author who I continually turn to for motivation, along with John Irving. I find O’Connor is best for voice, Irving for pacing. I also can’t stop re-reading Larry McMurtry’s Horseman, Pass By. It’s his debut novel (I believe he was 25 when he wrote it), and it’s far too good for anyone’s first try. 

I read a lot of non-fiction, be it history or philosophy or outdoor guidebooks. I read political biographies, sports writing, and anything my wife tells me is good (most recently it was Dispatches from Pluto by Richard Grant). I just finished The Liberal Redneck Manifesto, a political comedy book by Trae Crowder, Drew Morgan, and Corey Ryan Forrester. It was a wonderfully honest take on Southern politics and culture. 

For fiction I tend to read mostly older novels, only because there are so many I haven’t read yet. But there are supremely talented writers who are in their prime right now, and I try to support them as much as I can. Sometimes I’ll buy a book by an author I like, knowing I won’t be able to read it for another several months. Authors who have impressed me in the past few years include: Sarah Bird, Colson Whitehead, May Cobb, Owen Egerton, David Joy, Joe Lansdale, Ta-Nahisi Coates, and Benjamin Saenz, just to name a few. I may be biased, but I truly believe we are coming into a special era of American literature, with so many talented writers young and old. 

How did you find your literary agent and go on to get published? What was that moment like when you heard that your major debut novel would be published?

I first heard you (the incomparable Mark Gottlieb) speak on a panel in 2016 at the Writers’ League of Texas Agents & Editors Conference just down the street from my home in Austin, Texas. I was struck by your professionalism, and your sincerity when speaking about your clients. You were the first person I queried when I finished the manuscript. So, naturally, when you approached me to talk about representation I was completely on-board. I remember being camped in the Black Hills in South Dakota and not having enough cell signal to call you, so I hiked up to the top of a ridgeline holding my phone up like one of those cell service commercials. 

The pedigree spoke for itself, but it was your passion for the work that stuck out to me. You were able to have an in-depth conversation about the manuscript just a few days after I sent it to you. I always try to find the smartest person in the room and learn from them, and you fit that bill perfectly. You made the “finding an agent” part so seamless and stress-free, I assumed finding a publisher would be when the real panic set in. But I think within eight days of agreeing to work together, you sent me our first offer. 

“Trident Media Group is essentially the movie-version of what an author dreams their literary agency will look like.”

What was it like coming to New York City to see the Trident Media Group offices in-person...did things start to feel more real then?

Let’s state the obvious, first: New York is the publishing kingdom and the Trident Media Group has as impressive a castle as you’ll find. The location across from Madison Square Park, the towering building, the immaculate views—Trident Media Group is essentially the movie-version of what an author dreams their literary agency will look like. Then, you see the actual books from Trident Media Group clients: best-selling fiction, award-winning non-fiction, critically acclaimed authors, celebrity biographies. For a new writer, it was overwhelming in the best way.

For myself, as well as other authors I’ve spoken with, things may never feel entirely "real." There’s a certain imposter syndrome that permeates the creative community. It reminds you that no matter how many short stories you publish, you’ve never written a novel. Or no matter how many novels you publish, you haven’t sold X number, or appeared on X list. I asked Owen Egerton, who won the 2018 PEN Southwest Award, if he felt that recognition made him a "real" writer. His answer? “I just started thinking, well, it’s not a Pulitzer.”

I think that sort of doubt is actually great for writers. It pushes us to keep improving our craft. All that being said, did touring the best literary agency in the world cause me to feel somewhat legitimized as an author? Hell yes, it did.

Does the prospect of working with Blackstone Publishing excite you? They are very nimble and are also a leading publisher of audiobooks. I'm betting the audio version of All Things Left Wild will have amazing production value.

I think it’s always exciting to work with someone who wants to work with you. It’s also humbling, to have such a well-respected publisher be willing to make you an offer. Not to mention, the trust Blackstone has shown in me as a debut author. 

I love the idea that Blackstone is a well-entrenched publisher of audiobooks, while also being a relatively new print publisher. It provides the stability of experience, but also gives us a chance to grow together. And make no mistake, Blackstone is growing like crazy. 

Under the leadership of Josh Stanton, Rick Bleiweiss, and the entire team in both New York and Oregon, Blackstone is emerging as a powerhouse in the publishing world. They’re signing big name authors from other major houses, while still focusing on the promotion of new writers and new ideas. 

Not to mention, the folks who make up the Blackstone Publishing family are as good a group as I could have hoped to work with. Jeff Yamaguchi, Megan Wahrenbrock, Greg Boguslawski, and Mandy Earles have really nailed the independent bookstore market, which I believe is the lifeblood of the modern publishing industry. Lauren Maturo was just named a Publishers Weekly Star Watch Honoree for her exceptional publicity work at Blackstone. And I can’t imagine anyone in the business has someone as sharp as Blackstone’s Josie Woodbridge captaining the day-to-day. 

As for the audio version of the novel, I mean, what better position could we be in? Blackstone created an audiobook empire known for its professionalism and production value. I can’t imagine how cool it will be to have them putting together All Things Left Wild.

“Literary agents...are not out to get you. They want to help. In reality, they don’t get paid until you do, so they have a vested interest in your career.”

Any advice for struggling writers desperate to become published authors?

Oh, man, I don’t know. Just write. Write every damn day. Write when you don’t feel like it. Especially when you don’t feel like it. There will be inspired times, no doubt. But the difference between a writer and "someone who writes" is forcing yourself to sit down and face the story even when you’d rather do almost anything else.

Read everything, and read it often.

Learn to write a decent query letter. Make sure you put your best foot forward when seeking literary agents. And once you find an agent, listen to him/her. Literary agents, for the most part, are not out to get you. They want to help. In reality, they don’t get paid until you do, so they have a vested interest in your career.

Also, don’t get discouraged. I know it’s easy to do. I let my shoulders slump a good deal more than I’d care to admit. For me, it takes hiking, or a cold beer(s), or a pep-talk from my brilliant wife, before I can get back in the saddle. You have to find what works for you. 

Most importantly, cut yourself some slack. Do you know how hard writing is? It’s hard, folks. You’re writing something, creating something from scratch that belongs solely to you, and you’re doing it while knowing it will be rejected. Whether it’s by a magazine, an agent, a publisher, a critic, a one-star review on Amazon or Goodreads, etc., your work is going to be rejected at some point by someone. And yet, you have to be excited enough and motivated enough to continue on despite that fact. 

What can we expect next from the writings of James Wade?

I’m excited and anxious about All Things Left Wild making its debut. It will be my first time going through the process of releasing a novel, so there are a lot of unknowns there. But continuing to write has kept me grounded. While the first novel was in post-production, I was able to write a second manuscript, which was also accepted by Blackstone. That novel, River, Sing Out, is set in modern day East Texas, and deals with the vicious cycle of poverty and drug abuse in rural areas. 

I’m currently working on a third manuscript which flips back to Southwest Texas and follows the son of a ranchhand during World War II. I don’t know how any of this will turn out, but I do know I’ll keep writing. And at the end of the day, that’s all that matters. If you enjoy the process, everything else is just a bonus. 

[markgottliebliteraryagent]

Video Game Artists/Graphic Novelists Arey & Fy

Alejandra Green and Fanny Rodriguez are casually known as "Arey and Fy." They are the authors of the popular webtoon-turned-forthcoming graphic novel Fantastic Tales of Nothing, in which a vast continent with ages of lore, traditions and conflict plays host to the adventures of an unlucky boy as he travels from the Mourning Prayers to the Courts of Power and probably gets in more trouble that he can handle. Katherine Tegen Books/HarperCollins will be publishing. Alejandra "Arey" Green is a concept artist and animator from northwest Mexico. Arye likes to think of herself as patience in the flesh, a lover of the sea and surfer of whales (although she'll deny that). Fanny "Fy" Rodriguez is a user interface designer and illustrator from northeast Mexico. She never sleeps, is a mountain enthusiast, and has weird taste in music (she won’t deny that).

What initially attracted you both to the comic book arts medium of storytelling? Do you also feel that the fantasy genre affords a vast canvas for storytelling?

AG: Working on a comic format for storytelling pretty much conveyed what we both enjoyed doing- both graphic and written ideas.

I thought about working on a short film of sorts as a personal project around that time. However, animation is both resource and time consuming for only one person to work on. Funny enough, I had never been attracted to comic books up until now! The idea of trying out a new medium for me to explore was too exciting to ignore. This is honestly a new world for me and I cannot be more grateful to Fanny for dragging me in.

Either be fantasy, science fiction or any other genre; I believe any subject can be explored into an endless road of possibilities for storytelling as long as the characters, their actions and growth appeal to the audience.

FR: I’ve never gave much thought about it until now, I have notebooks from 7th grade where I did some comic panels and a friend did the next and so on. I guess I’ve always been attracted to the idea of telling stories through pictures more than only words, you not only tell the story you give the reader the idea of what you imagine creating it.

Definitely, fantasy and other fiction genres are only limited by the creator (and sometimes, the page limit marked by the editor).

Having worked with animation studios, what has been each of your favorite projects to work on and why?

FR: We didn’t work in big animation studios, but for my part I’ve been more involved on web design and development until I met Ale. We met in a video game outsource studio, where we worked on concept art and design for mobile, PC and console video games. You can even find our names in some credits (as an outsourcing studio, sometimes there’s only the mention of it and not the artists) like Heroes of Dragon Age, Plants vs. Zombies, Agents of Mayhem, Darksiders 3 and Prey 2. More than a project, my favorite part was when I got to be the leader of the 2D art team, working with a lot of amazing and talented artists and learning from them and the process of creating assets for video games.

AG: What a dream it would have been! Although I don’t think I would’ve had the opportunity to work on Tales of Nothing if I ever worked for those companies. (Or even meet Fanny)

I did however, worked with a small animation team for a feature film project in which I had the pleasure to meet amazing artists and friends within the industry. Visual development has always been my favorite part when working on the animation field, which I learned a lot from.

During my time there, we had the opportunity to work on a short film for a national contest (we made it to the finals!) and I have to admit, working on the credits illustrations/design was my favorite part!

“...you can’t rely on the platforms alone to get your work known.”

Your forthcoming graphic novel, Fantastic Tales of Nothing, began as a popular webcomic. Do you now regard publishing online via webtoon sites such as Tapas and Line Webtoon to be a springboard for discovery and success? Are there any limitations to staying within the webcomic ecosystem where one is published only digitally?

AG: Tapas did made it easier for us by promoting Tales of Nothing through their app and webpage’s Spotlight sections. However, when using such tools one should be careful and keep in mind their terms and conditions, and how your work can be affected by it.

Most webcomic authors I know use such platforms as a segway to self-publishing through funding campaigns, once the project has reached a popular audience on its own, especially when starting a new project.

FR: Both platforms are great ways to publish if you can’t create your own website, and make your work accessible to their the public that it’s always looking for something new to read. However, you can’t rely on the platforms alone to get your work known. As Ale said with Tapas Spotlight with Fantastic, we were lucky on that.

I don’t think there are limitations, if you want to continue publishing your comic online for free there are paths you can take to support you, like Patreon, Kofi, Kickstarters for publishing, Gumroad, etc. More than a limitation, you gotta know it’s big work what you going to do, constantly and that’s something some new artists and readers don’t grasp sometimes.

I'm reminded of Nimona, Boxers & Saints and Anya's Ghost when I look at your graphic novel Fantastic Tales of Nothing. Are there any comics or graphic novelists that have influenced your work, or are there any comic creators you both just read for pleasure?

FR: I’m more a video games than a comics/graphic novel person. I grew up (and still are) playing video games like The Legend of Zelda, Final Fantasy and more, they became a big influence for me to start drawing and writing. Art-wise I look up to a lot of artists, maybe all artists is a better statement. When we started Fantastic Tales of Nothing I took a lot of influence from Mary Blair, Eyvind Earle and Vincent Van Gogh for painting the backgrounds. On writers, maybe I can say Espido Freire and Douglas Adams.

I read for pleasure, a lot of things! Started a compilation of short stories by Ursula K. Leguin, a couple of friends gifted me Howl’s Moving Castle by Diana Wynne Jones and The Prince and the Dressmaker by Jen Wang that I already binge read past week. I’m also following/reading some comics like Saga by Brian K. Vaughan & Fiona Staples, Coda by Simon Spurrier & Matías Vergara, and Isola by Brenden Fletcher & Karl Kerschl.

AG: I’m fairly new to this whole graphic novel/comic world, so my collection isn't as big as Fanny’s. My all-time favorite author has been a manga artist, Hiromu Arakawa on Fullmetal Alchemist and Silver Spoon. Last year I had the pleasure to meet both authors Ale Gamez and Axur Eneas through their latest novel Mas Alla de las Ciudades. I also bought Nimona after you, Mark, mentioned it to us, lovely stories worth checking out!

“...it was so amazing seeing all the work we have done finally take form.”

It's hard enough writing a story...does telling a story with illustrations add more work and present its own set of challenges, or do you each find it to be liberating?

FR: Yes definitely! Trying to communicate the actions and moods we are thinking about certain scenes it’s a big challenge but it’s great at the same time. I’ve learned so much because of it and still am. When we finished the rough version of the whole book to send to our editor, I contained my tears; it was so amazing seeing all the work we have done finally take form.

What do you find that working in a collaboration offers that working as an individual storyteller cannot offer?

FR: There are so many things. First, you’re not alone; you’ve got another person’s point of view that helps you see things that you wouldn’t have noticed if you were working by yourself. When you have troubles, or are stuck trying to illustrate/write something, the other can help out by guiding or giving advice. Working with Ale, it’s the absolute best, and I’m not saying it only because she’s my best friend, both of us are very different in the way we solve problems, paint and think. I’m very emotional and impulsive; she’s more centered and practical. I like to think we complement each other and that makes our work easier for both of us.

How did you find your current literary agent and go on to get published with the Katherine Tegen Books imprint of HarperCollins? How exhilarating did it feel to learn that you'd be getting published?

FR: Okay, this one is a funny story: we thought you were spam, Mark! When I got the notification and saw the big box of text I was about to delete it, but then noticed it wasn’t like the usual spam we got. I shared the comment with Ale, both of us being very skeptical about it. So, before answering you we did a little digging about you and Trident Media Group. It took us a moment to think about it, but at the end we said, “Why not?” We weren’t expecting such a quick reply, either.

When we finished our first call with you, we were blank, in a good way. Imagine when you called us, I think it was a month later, telling us Katherine Tegen was publishing us; we were blank again! Looking at each other in disbelief with a dumb smile on our faces, quite nervous of overreacting with you on the line. After we finished the call with you, both of us began to laugh. I think we didn’t do anything else other than smile and worry for a bit, then smile again. Nothing was done that day (no pun intended).

If you could each be any character in any fantasy or comic book world, which character would you be and why?​

FR: I can’t decide. Not because I would like to be on many worlds, mostly because I kind of like it here. But if I have to choose something, maybe I’ll be the Doctor, just to be able to travel through space in time. Explore the universe, meet historical figures and just experience ancient times for a little bit. Oh, how I would love to see what a dinosaur really looked and sounded like.

AG: Most of Arakawa’s female characters have a strength to strive for, I’d definitely choose Riza Hawkeye and her will to give all her best to achieve her goals in supporting the people she cares for.

“The right literary agent can help you take strides of progress when seeking publishing opportunities...”

Do you have any advice for unpublished graphic novelists hoping to get their work published?

FR: Don’t hold yourself back because you don’t know this or don’t know that. You will only learn to improve if you do the thing, instead of having it as an idea wandering in your head. And share your work! Yes, there’ll be mistakes and critiques, learn from them instead of letting them get you down. How else will someone know you got this great story on your hands?

AG: Just do it! Keeping your work out there will open up possibilities for your growth as an artist and as an author. The right literary agent can help you take strides of progress when seeking publishing opportunities—don’t give up, be patient and keep on working ideas that can get you where you aim for.

What can we expect next from the world of Fantastic Tales of Nothing?

FR: Well, if everything goes alright, maybe more stories of the past and beginning of the world, also more adventures! Maybe outside Nathan and friends.

For now, in Fantastic Tales of Nothing, you got to pay attention to the little things; there’s a lot behind the world our characters known as "Nothing," about the people living there to their historical figures. That magic is simple but makes a lot of mess, that’s for sure. And definitely bad jokes, I hope to get better in time with my puns for the second book.

[markgottliebliteraryagent]

Finding the Right Literary Agent

As an author, I often receive questions from writers and students about literary agents. Specifically, how to find a literary agent. Up until recently, I would respond by launching into a discussion about query letters and book synopses, writers forums and agent wish lists, proposals and comparison books, etc., etc.

Now, I tell them what I wish I could tell my younger self: it's not about simply finding a literary agent. It's about finding the right agent for you.

I found my wonderful agent when I decided to take a risk and try something new. I saw that an online writers group I belong to, Savvy Authors, was hosting a "pitch fest" on their blog featuring a handful of agents and publishers. I had never before participated in anything like a pitch fest—whenever I queried agents it was through their website, by sending an email or, occasionally, even mailing an old-fashioned printed letter—but I figured all I had to lose was a couple hours of my time. So I clicked on the link to check it out.

“I'm so glad that I ultimately didn't let my own bias get in the way of finding my dream agent!”

Mark Gottlieb caught my eye because it seemed like my novel manuscript was exactly the kind of book he was looking for based on his agent statement. When I Googled his name and read some interviews with him published online, I was even more excited to submit to him. Funnily enough, up until Mark, I had mostly just queried women agents about my novel. As a writer of contemporary YA novels featuring female protagonists and love stories, I (wrongly) assumed that my book would have a better chance of resonating with a female agent than with a male agent. I'm so glad that I ultimately didn't let my own bias get in the way of finding my dream agent!

On the surface, approaching an agent through something like an online pitch fest might seem like a piece of cake, because instead of a long query letter, you only have to write a few sentences about your book—most pitch fests, like the one I participated in, have strict rules and word limits. However, I quickly learned that summarizing my entire novel in just three compelling sentences was a million times more challenging than writing a longer query letter! I spent a good hour rephrasing and honing my three-sentence pitch. Then, crossing my fingers for luck, I submitted it, which entailed publishing it as a comment on the blog post about Mark Gottlieb. The pitch fest rules explained that if an agent was interested in your idea, they would contact you. But I honestly did not have very high hopes. I could see there on the page how many pitches Mark was getting—it was starkly apparent that mine was just one small fish in a very large pond. Still, I felt proud of myself for putting my idea out there and giving it my best shot.

Well, imagine my surprise when I received an email from Mark within a couple days, expressing interest and asking to read my entire manuscript. As I sent it off to him, again crossing my fingers for luck, I told myself not to get too excited. I also prepared for a long wait. Agents had requested to read my manuscript before, and it was usually months before I heard back from them.

Within a week, Mark Gottlieb called me on the phone, apologizing for the delay in responding to me and explaining that he had just returned from the Frankfurt Book Fair. I was completely floored. He said that he loved my book and told me in detail why and what he loved about it. I could tell right away that Mark "got" my book—and not just that one book, but my writing style as a whole. That's when I knew he wasn't just any literary agent; he was the right agent for me.

“...I wanted an agent who felt like my partner in the publishing business.”

Before signing with Mark, I had two previous agents. When I signed with my first agent, I was so excited simply to have an agent that I didn't think to consider how the agent treated me. It was a pretty lopsided relationship; I felt so lucky to have her that I was afraid to ask her for anything. The agent would send me vague notes requesting major rewrites of my novel because it “just wasn't there yet.” I would spend weeks diligently rewriting and send her a new draft. Months later, she would send back an email saying she had read the new draft and it “still wasn't quite there yet.” This went on for years, through two separate novel manuscripts, until we eventually parted ways. She never actually sent out any of my work to publishers, and looking back I'm not quite sure why she signed me as a client in the first place. She clearly didn't resonate enough with my work to be in charge of selling it to others. From her, I learned that I wanted an agent who felt like my partner in the publishing business.

My second agent did actually send out one of my novels, but seemed angry at me when it didn't sell. It got to the point where my gut would sink when I saw her name in my inbox, as I braced myself for one of her terse emails. We parted ways after I sent her the new novel manuscript I had spent nearly a year working on, and she curtly responded via email that it “wasn't my best work” and that I should “write something else.” I realized that I wanted an agent who was interested in representing me throughout my career, not just for one book, and who would actually pick up the phone and call me to discuss things.

“...I could tell that he is respected and admired by editors across the industry because of the way my work was quickly read and considered.”

Right away, I could tell Mark was a different kind of agent altogether—a rare kind, I believe. He is encouraging and supportive, while also being realistic and giving honest feedback. I trust his judgment wholeheartedly, but he also asks for my opinions. He calls to discuss what is going on with my submissions, to explain things to me, to answer my questions. He never seems rushed or makes me feel like I am bothering him. And he is very good at what he does. Not only did he sell my debut novel to a publisher I am thrilled to work with—keeping me in the loop during every part of the process—but moreover, I could tell that he is respected and admired by editors across the industry because of the way my work was quickly read and considered.

So, if you are looking for an agent, by all means visit writers forums and read agent wish lists. Hone your query letter and book synopsis. Learn all about proposals and comparison books. But don't forget that you are part of the equation, too! The best agents are champions for their clients throughout the process. Set your standards high and hold out for the right agent who truly "gets" your writing—who makes you feel supported and also pushes you to grow into the best writer you can be.

Dallas Woodburn is the author of the short story collection Woman, Running Late, in a Dress (Yellow Flag Press, 2018) and the forthcoming YA novel The Best Week That Never Happened (Month9Books). A former John Steinbeck Fellow in Creative Writing, her work has been honored with the Cypress & Pine Short Fiction Award, the international Glass Woman Prize, second place in the American Fiction Prize, and four Pushcart Prize nominations. A passionate supporter of young writers, she is also the founder of the organization Write On! Books that empowers youth through reading and writing endeavors. Dallas lives in the San Francisco Bay Area with her amazing husband, adorable daughter, and overflowing bookshelves.

[markgottliebliteraryagent]

Penn State Professor John Gastil & CSU Assistant Professor Katherine Knobloch

I got the chance to sit down with two authors who have a surprisingly optimistic view about politics and democracy. John Gastil is a professor at Penn State, and Katie Knobloch is an assistant professor at Colorado State University. They have collaborated on research for more than a decade, and Hope for Democracy: How Citizens Can Bring Reason Back Into Politics, forthcoming from Oxford University Press, is their first book together.

How did you come to writing, or did writing somehow find you?

JG: I’ve always loved writing. When I was in junior high, I wrote a terrible epic somethingorother about a space battle. Derivative garbage, I’m sure, but I was hooked.

KK: My family still jokes about a long fairy tale I wrote in the third grade called “Princess Marie’s Dream.” I wouldn’t say that I always love it, but it’s always been a part of my life.

Are there any books or authors that have influenced you along the way?

KK: Katherine Cramer’s Talking About Politics was pretty transformative for me. It was one of the first times that I’d seen a political scientist take citizens seriously. Michael Schudon’s The Good Citizen also helped me understand that as democracy evolves so does our understanding of what it means to be a citizen. Both gave me hope that we can find ways to make democracy better.

JG: In college I discovered books that used social science to make compelling arguments. Alfie Kohn’s No Contest challenged the assumption that competition is good for us, and Barry Schwartz’s The Battle for Human Nature argued that behaviorist psychology was ideology more than science. I can only aspire to write so well.

“There is real reason to worry and to resist the forces that undermine our democracy.”

The title of your book is Hope for Democracy: How Citizens Can Bring Reason Back Into Politics. The state of the U.S. government seems pretty bleak--is there any real hope for democracy?

JG: There is real reason to worry and to resist the forces that undermine our democracy. Our system is threatened every time elected officials try to make it harder to vote or they try to distort the process to make some votes count for more than others. That shows a contempt for democracy itself. Fortunately, there are counter-trends, and we bring those to the foreground so that readers can appreciate the reform efforts that are strengthening democracy in the US and other countries.

KK: Like John, I don’t think the problem is democracy itself. The problem is that our governing institutions are becoming less democratic. Many of the things we take for granted as democratic institutions are still "new," or they were built in distant historical contexts. Too often, politicians reshape those institutions to bolster their own authority while diminishing the public’s power. Maintaining democracy requires reforms that ensure the public’s access to good information and let them shape our collective decisions.

What are a few key ways that we as a society can improve our system of government and elections?

KK: I’m a big fan of anything that makes voting easier. Vote by mail and extended early voting are two small changes that could be implemented nationwide. We also need to create opportunities for people to talk to and learn from one another. Some cool processes like Participatory Budgeting or the Irish Constitutional Convention give citizens the chance to learn about, discuss, and make decisions regarding public policy. Those reforms also give people real power, which they exercise responsibly. In Participatory Budgeting, community members get to decide how a pool of government funding gets spent. The Irish government has held referendums on recommendations from their public processes, resulting in the legalization of both same-sex marriage and abortion. Their success shows that change is possible.

You write about how concerned citizens are finding new ways to make their governments more democratic and effective. The central case study in your book is the Oregon Citizens' Initiative Review. Why has the Oregon process been so effective?

JG: The Citizens’ Initiative Review uses a small randomly selected group of voters to study a ballot measure, then write a one-page analysis that goes in the official voter pamphlet. This project has worked well partly because it began as a modest project. The Review never tried to take on too many different initiatives, and it kept its focus on a simple task--writing just one page of key findings and pros and cons in simple language voters could understand.

KK: That’s exactly right. As a result, we saw the Review panels deliberating well over four or five days. And voters found the Reviews helpful when it came time to vote.

“I hope that we continue to see more new voters and that people begin to understand that their votes really do matter.”

What do you think this next election cycle could bring about in our country?

KK: It’s harder than ever to predict what’s going to happen in elections, but I’m excited by the increase in voter turnout in the 2016 midterms. I hope that we continue to see more new voters and that people begin to understand that their votes really do matter.

JG: I’ll stick my neck out and make this forecast: the Democratic Party will have a dozen viable candidates competing for media attention through the entire primary. Heading into the convention, the leading candidate will have a thin margin and no majority because the Democrats don’t have winner-take-all primaries. The raucous convention that follows will give voice to attendees, who could choose a nominee who embraces a bold policy agenda focused on fighting corruption and empowering citizens. This could be a persuasive message for an electorate that still feels shut out of Washington after having elected a populist outsider in 2016.

“We wrote a book that tells stories about real people fighting for democracy.”

Is it liberating to work in a collaboration in the book writing process? What's it like working with a co-author?

KK: Yes. I often get to the point in writing where I can’t really read what I’ve written anymore. Being able to hand it off to a co-author gives me a break from the work and lets me see it with fresh eyes when it comes back. Collaborating also makes me a better writer. John is funny and makes great analogies. Trying to speak with one voice forces me to push the boundaries of traditional academic writing.

JG: And Katie’s writing kept me grounded. We wrote a book that tells stories about real people fighting for democracy. When I needed to bring a new academic theory into our story, I’d remember how concrete Katie could make that information, then I’d try to do the same.

How did you find your current literary agent and get your latest book published with Oxford University Press?

JG: I attended the Pennwriters annual conference in Pittsburgh in May 2017, just a few months into the Trump presidency. The agents I met with were excited to work on a book that offered a hopeful message about politics. In the end, I chose you, Mark because of your reputation, your interest in representing an author—not just a single book, and the power of Trident Media. We settled on Oxford because of their success publishing books on democracy and because the editor we worked with there, David McBride, is a wonderful collaborator. David’s irrational and enduring affection for The Big Lebowski also helped seal the deal.

Oxford University Press seems like a terrific and prestigious publisher for those writing close to, or within, academic publishing...are you excited to work with OUP?

KK: Absolutely, particularly for my first book. Oxford has published some of the most important works on democracy, like Iris Marion Young’s Inclusion and Democracy and John Dryzek’s Foundation and Frontiers of Deliberative Governance. It’s humbling and a little intimidating to share their same publisher.

“Work hard, do your best, and then let it go.”

Do you have any advice for writers looking to become published authors?

JG: The best advice I can give is to find a co-author like Katie. You want someone who thinks differently from you but shares your sense of humor and style, a diligent collaborator who inspires you to sharpen your argument and your words. Having a friend writing alongside you can make an otherwise solitary task into a joyful collaboration.

KK: Thanks, John. One of the things that John taught me is to celebrate the submission more than the publication. Work hard, do your best, and then let it go. You can’t control the outcome, but no one is ever going to read your work if you don’t take that risk.

[markgottliebliteraryagent]

4 Lessons on Being a Successful Writer-Preneur (Courtesy of Martha Stewart)

When not immersed in creative projects or working with clients, I love to cook, entertain and share fun ideas and helpful gadgets for enhanced living. Which is why this domestic diva has served as my unofficial mentor and spirit animal for decades.

Martha Stewart’s best-selling books have graced my office library; I’ve devoured her numerous cooking shows; and have faithfully followed her professional journey…detours and all.

 For writers seeking to go the distance in the publishing industry, overcome obstacles and operate profitably, there are many career parallels and strategic lessons she provides.

 Even if you’re not a fellow foodie, here are a few hot tips worth heeding.

 1. ON BRANDING

Martha Stewart has long been recognized for her meticulous standards and attention to detail. Whether it’s in the quality of her meals; the beauty of her home products; or the content of her magazines, her name is synonymous with excellence. This has contributed to her bottom line and longevity. Today’s writers should follow suit.

Bring your “A” game. Determine what distinguishes you from the competition (your secret sauce); your strengths; your core message. Then deliver it consistently. Martha shares in an interview with The Academy of Achievement: “I don't do anything unless I think it's going to be good, I'm real picky about that. I have set a standard, and I'm going to stick to the standard.”

 2.  ON OVERCOMING OBSTACLES

In 2004, Martha Stewart was sentenced to prison for her role in the ImClone Stock Trading Case. As a fan, I was convinced that this would serve like a future death sentence, from which she would never recover. Fast forward.

Her “fall from grace” did not permanently ground her. In 2005, she emerged back on the scene with her Martha Stewart daytime show and The Celebrity Apprentice. Some of her product lines were even expanded post-prison. For writers and entrepreneurs, “obstacles” may come in the form of lost clients; rejections from agents; a computer virus; or feast and famine cycles.

Stay the course. There’s some validity to the expression “adversity builds character.”  

 3. ON CREATING MULTIPLE INCOME STREAMS

With an excellent business mind and business model, Martha Stewart has built a billion-dollar empire. From cookbooks, to cookware, to home décor, to magazines, this savvy entrepreneur knows the importance of diversifying her offerings to increase her value. You should too.

Think information products; speaking engagements; audio books; content marketing.

It’s the best way to not become a starving artist in uncertain times.

4. ON COLLABORATING WITH OTHERS TO EXPAND AUDIENCE AND REACH

It seemed an unlikely pair, but in 2016, this conservative life-style expert partnered with bad-boy rapper Snoop Dogg for a weekly Potluck Dinner Party Series. It subsequently met with great success, garnering an Emmy award nomination. Collaborations are a terrific way for creative artists to combine their (often complementary) respective talents, ideas and approaches to reach greater heights.  Some popular examples would be a celebrity actor partnering with a ghost writer for a tell-all; a graphic designer working with a freelance writer; or various writers contributing to an anthology with a common theme. The sky’s the limit!  

Remember, lessons come in many forms. The ones provided here by author and business mogul, Martha Stewart, can help to shorten your learning curve and lengthen your career in the publishing industry.

Here’s to your success!

Jennifer Brown Banks is a content marketer, creative strategist and award-winning blogger. She is a former board director for Chicago Writers Association. Learn more at her top blog for writers, Pen and Prosper.